Conscious and competence
There are four stages of competence.
Stage 1. Unconsciously incompetent -- you really don't know what you don't know.
Stage 2. Consciously incompetent -- you really do know how much you don't know.
Stage 3. Consciously competent -- you know stuff, but you have to really think about it to act on it correctly.
Stage 4. Unconsciously competent -- you know stuff and you no longer have to think about it. You just do it.
I would propose the goal to live in "flow" / "in the moment" specific to "cold" or even "warm" reading the is....
10% Conscious
90% Sub-Conscious (What you as a Director should look to fuel and encourage are the following)
1. Creative Imagination
2. Intuition
3. Automatic Behavior
4. Habitual Behavior
Keeping on your directors palette the following ...
" The thoughts that I am guiding the actors to work toward if not anchored in any of the above 4 areas will allow the actor to repeatedly imprint the sub-conscious or the "programing" with all that crap which "feels" like good acting but usually has no foundation in the truth of the script or the truth of the moment.
Malcolm Gladwell, author of Blink - What is Blink? First impressions and the power of intuition and where judgment comes from and the kinds of things that happen in the blink of an eye.
SCIENCE JOURNAL By ROBERT LEE HOTZ
Get Out of Your Own Way
Studies Show the Value of Not Overthinking a DecisionJune 27, 2008; Page A9, fishing in the stream of consciousness, researchers now can detect our intentions and predict our choices before we are aware of them ourselves. The brain, they have found, appears to make up its mind 10 seconds before we become conscious of a decision -- an eternity at the speed of thought.
Their findings challenge conventional notions of choice.
"We think our decisions are conscious," said neuroscientist John-Dylan Haynes at the Bernstein Center for Computational Neuroscience in Berlin, who is pioneering this research. "But these data show that consciousness is just the tip of the iceberg. This doesn't rule out free will, but it does make it implausible." Through a series of intriguing experiments, scientists in Germany, Norway and the U.S. have analyzed the distinctive cerebral activity that foreshadows our choices. They have tracked telltale waves of change through the cells that orchestrate our memory, language, reason and self-awareness.
In ways we are only beginning to understand, the synapses and neurons in the human nervous system work in concert to perceive the world around them, to learn from their perceptions, to remember important experiences, to plan ahead, and to decide and act on incomplete information. In a rudimentary way, they predetermine our choices.
To probe what happens in the brain during the moments before people sense they've reached a decision, Dr. Haynes and his colleagues devised a deceptively simple experiment, reported in April in Nature Neuroscience. They monitored the swift neural currents coursing through the brains of student volunteers as they decided, at their own pace and at random, whether to push a button with their left or right hands. In all, they tested seven men and seven women from 21 to 30 years old. They recorded neural changes associated with thoughts using a functional magnetic resonance imaging machine and analyzed the results with an experimental pattern-recognition computer program. While inside the brain scanner, the students watched random letters stream across a screen. Whenever they felt the urge, they pressed a button with their right hand or a button with their left hand. Then they marked down the letter that had been on the screen in the instant they had decided to press the button. Studying the brain behavior leading up to the moment of conscious decision, the researchers identified signals that let them know when the students had decided to move 10 seconds or so before the students knew it themselves. About 70% of the time, the researchers could also predict which button the students would push.
With co-author Giulio Tononi, Nobel laureate Gerald Edleman explores his biology-based theory of consciousness in A Universe Of Consciousness: How Matter Becomes Imagination11.
"It's quite eerie," said Dr. Haynes. Other researchers have pursued the act of decision deeper into the subcurrents of the brain. In experiments with laboratory animals reported this spring, Caltech neuroscientist Richard Anderson and his colleagues explored how the effort to plan a movement forces cells throughout the brain to work together, organizing a choice below the threshold of awareness. Tuning in on the electrical dialogue between working neurons, they pinpointed the cells of what they called a "free choice" brain circuit that in milliseconds synchronized scattered synapses to settle on a course of action. "It suggests we are looking at this actual decision being made," Dr. Anderson said. "It is pretty fast." And when those networks momentarily malfunction, people do make mistakes. Working independently, psychologist Tom Eichele at Norway's University of Bergen monitored brain activity in people performing routine tasks and discovered neural static -- waves of disruptive signals -- preceded an error by up to 30 seconds. "Thirty seconds is a long time," Dr. Eichele said.
Such experiments suggest that our best reasons for some choices we make are understood only by our cells. The findings lend credence to researchers who argue that many important decisions may be best made by going with our gut -- not by thinking about them too much.
Dutch researchers led by psychologist Ap Dijksterhuis at the University of Amsterdam recently found that people struggling to make relatively complicated consumer choices -- which car to buy, apartment to rent or vacation to take -- appeared to make sounder decisions when they were distracted and unable to focus consciously on the problem. Moreover, the more factors to be considered in a decision, the more likely the unconscious brain handled it all better, they reported in the peer-reviewed journal Science in 2006. "The idea that conscious deliberation before making a decision is always good is simply one of those illusions consciousness creates for us," Dr. Dijksterhuis said.
Does this make our self-awareness just a second thought? All this work to deconstruct the mental machinery of choice may be the best evidence of conscious free will. By measuring the brain's physical processes, the mind seeks to know itself through its reflection in the mirror of science. "We are trying to understand who we are," said Antonio Damasio, director of the Brain and Creativity Institute at the University of Southern California, "by studying the organ that allows you to understand who you are."
MIND READING
Your brain knows what you're going to do 10 seconds before you are aware of it, neuroscientist John-Dylan Haynes3 and his colleagues reported recently in Nature Neuroscience4. Last year In the journal Current Biology5, the scientists reported they could use brain wave patterns to identify your intentions before you revealed them.
Their work builds on a landmark 1983 paper in the journal Brain6 by the late Benjamin Libet7 and his colleagues at the University of California in San Francisco, who found out that the brain initiates free choices about a third of a second before we are aware of them. Together, these findings support the importance of the unconscious in shaping decisions. Psychologist Ap Dijksterhuis8 and his co-workers at the University of Amsterdam reported in the journal Science9 that it is not always best to deliberate too much before making a choice. Nobel laureate Francis Crick -- co-discoverer of the structure of DNA -- tackled the implications of such cognitive science in his 1993 book The Astonishing Hypothesis: The Scientific Search for the Soul10. With co-author Giulio Tononi, Nobel laureate Gerald Edleman explores his biology-based theory of consciousness in A Universe Of Consciousness: How Matter Becomes Imagination11.
Innate "Communication" is the key - The lexicon and syntax between women and men is distinctly different don't under estimate this difference know that often what is thought to be clear and cleanly understood quite often is not the case. Ask yourself how do you communicate to assure and insure your direction is clearly, cleanly understood and accepted. Use VAK.
Ladies - Identify your 3 top, all time favorite, over the top, heat stopping best ever scenes, the ones that you can't help but stop to watch when you pass the flat screen display at Best Buy
LPS Directing - The cold reading work will require the director to request the actor to get to specific locations in the space. When the actor gets to that location go over the specifics of the character in that specific moment, make sure the fighting for has a sharp edge. or maybe an opposite. Request the actor to remember the fighting 4 when they cross to the location, sit, stand, breath etc.
By creating Anchors using any of the guideposts in the set space your maintianing the fighting for of the scene and often charging it back up or "raising the stakes" into the scene rapidly and clearly. Identify a chair, a space on the wall, even as simple as standing, sitting and a big breath. That becomes the "Anchor" tie have the actor touch / hear / or feel that action to a specific line or script location bottom of the first column. Then step back and see what happens. The actors will move with intention (because you told them to) and when they get to the directed location the scene should get a pop or shot in the arm.
This is way more interesting then having the actor look to organically feel the best movements or just wander within the space until their next line. Most of the time the actor is still trying to feel / see / or hear the character.
Using anchors will
Flow with Soul is an interview with Csikszentmihalyi (btw, his name is pronounced “Chicks sent me high”).
"The fact that you were completely immersed in what you were doing, that the concentration was very high, that you knew what you had to do moment by moment, that you had very quick and precise feedback as to how well you were doing, and that you felt that your abilities were stretched but not overwhelmed by the opportunities for action.
In other words, the challenges were in balance with the skills and when those conditions were present.
You began to forget all the things that bothered you in everyday life, forget the self as an entity separate from what was going on — you felt you were a part of something greater and you were just moving along with the logic of the activity. Everyone said that it was like being carried by a current, spontaneous, effortless like a flow. You also forget time and are not afraid of being out of control. You think you can control the situation if you need to.
But it’s hard because the challenges are hard. It feels effortless and yet it’s extremely dependent on concentration and skill. So it’s a paradoxical kind of condition where you feel that you are on a nice edge, between anxiety on the one hand and boredom on the other. You’re just operating on this fine line where you can barely do what needs to be done."
Mihaly Csikszentmihalyi, author of “Flow: The Psychology of Optimal Experience,” describes flow as “being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you’re using your skills to the utmost.”
Csikszentmihalyi’s ideas on flow stemmed from his attempt to discover a path to happiness. He wanted to figure out “how to live life as a work of art, rather than as a chaotic response to external events.”
“Flow” & Mihaly Csikszentmihalyi discusses what it feels like to be in flow:
1. Completely involved, focused, concentrating – with this either due to innate curiosity or as the result of training.
2. Sense of ecstasy – of being outside everyday reality.
3. Great inner clarity – knowing what needs to be done and how well it is going.
4. Knowing the activity is doable – that the skills are adequate, and neither anxious or bored.
5. Sense of serenity – no worries about self, feeling of growing beyond the boundaries of ego – afterwards feeling of transcending ego in ways not thought possible.
6. Timeliness – thoroughly focused on present, don’t notice time passing.
6. Intrinsic motivation – whatever produces “flow” becomes its own reward.
So how do you get there? Wikipedia’s entry on the subject says the following conditions help:
1. Clear goals (expectations and rules are discernable).
2. A high degree of concentration on a limited field of attention (a person engaged in the activity will have the opportunity to focus and to delve deeply into it).
3. Direct and immediate feedback (successes and failures in the course of the activity are apparent, so that behavior can be adjusted as needed).
4. Balance between ability level and challenge (the activity is neither too easy nor too difficult).
5. A sense of personal control over the situation or activity.
6. The activity is intrinsically rewarding, so there is an effortlessness of action.
The Audience - Group environment matters too.
1. A couple of flow friendly space attributes:
2. Creative spatial arrangements: Chairs, pin walls, charts, however no tables, therefore primarily work in standing and moving.
3. Playground design: Charts for information inputs, flow graphs, project summary, craziness, safe place (people can say what is usually only thought), result wall, and open topics.
Enemies of flow include fearing what other people think…
1. A major constraint on people enjoying what they are doing is always being conscious
a. Of a fear of how they appear to others
b. What these others might think.
Ecstasy includes rising above these constraining concerns of the ego. ...and mundane daily routines. Stepping outside of normal daily routines is an essential element…This might be obtained through diverse routes or activities, such as reading a novel or becoming involved in a film.
DOMESTIC GROSSES
Adjusted for Ticket Price Inflation*
| Rank | Title (click to view) | Studio | Adjusted Gross | Unadjusted Gross | Year^ |
| 1 | Gone with the Wind | MGM | $1,390,067,000 | $198,676,459 | 1939^ |
| 2 | Star Wars | Fox | $1,225,462,800 | $460,998,007 | 1977^ |
| 3 | The Sound of Music | Fox | $979,817,800 | $158,671,368 | 1965 |
| 4 | E.T.: The Extra-Terrestrial | Uni. | $975,957,800 | $435,110,554 | 1982^ |
| 5 | The Ten Commandments | Par. | $901,280,000 | $65,500,000 | 1956 |
| 6 | Titanic | Par. | $883,019,700 | $600,788,188 | 1997 |
| 7 | Jaws | Uni. | $881,182,300 | $260,000,000 | 1975 |
| 8 | Doctor Zhivago | MGM | $854,051,900 | $111,721,910 | 1965 |
| 9 | The Exorcist | WB | $760,712,400 | $232,671,011 | 1973^ |
| 10 | Snow White and the Seven Dwarfs | Dis. | $749,920,000 | $184,925,486 | 1937^ |
| 11 | 101 Dalmatians | Dis. | $687,430,700 | $144,880,014 | 1961^ |
| 12 | The Empire Strikes Back | Fox | $675,482,800 | $290,475,067 | 1980^ |
| 13 | Ben-Hur | MGM | $674,240,000 | $74,000,000 | 1959 |
| 14 | Return of the Jedi | Fox | $647,128,700 | $309,306,177 | 1983^ |
| 15 | The Sting | Uni. | $613,302,900 | $156,000,000 | 1973 |
| 16 | Raiders of the Lost Ark | Par. | $606,416,000 | $242,374,454 | 1981^ |
| 17 | Jurassic Park | Uni. | $593,096,200 | $357,067,947 | 1993 |
| 18 | The Graduate | AVCO | $588,731,200 | $104,901,839 | 1967^ |
| 19 | Star Wars: Episode I - The Phantom Menace | Fox | $583,601,600 | $431,088,301 | 1999 |
| 20 | Fantasia | Dis. | $571,339,100 | $76,408,097 | 1941^ |
| 21 | The Godfather | Par. | $542,987,300 | $134,966,411 | 1972^ |
| 22 | Forrest Gump | Par. | $540,393,800 | $329,694,499 | 1994 |
| 23 | Mary Poppins | Dis. | $537,890,900 | $102,272,727 | 1964^ |
| 24 | The Lion King | BV | $531,354,700 | $328,541,776 | 1994^ |
| 25 | Grease | Par. | $529,221,700 | $188,389,888 | 1978^ |
| 26 | Thunderball | UA | $514,624,000 | $63,595,658 | 1965 |
| 27 | The Jungle Book | Dis. | $506,917,800 | $141,843,612 | 1967^ |
| 28 | Sleeping Beauty | Dis. | $500,011,300 | $51,600,000 | 1959^ |
| 29 | Shrek 2 | DW | $488,830,400 | $441,226,247 | 2004 |
| 30 | Ghostbusters | Col. | $486,626,600 | $238,632,124 | 1984^ |
| 31 | Butch Cassidy and the Sundance Kid | Fox | $485,438,000 | $102,308,889 | 1969 |
| 32 | Love Story | Par. | $481,587,200 | $106,397,186 | 1970 |
| 33 | Spider-Man | Sony | $478,055,100 | $403,706,375 | 2002 |
| 34 | Independence Day | Fox | $476,569,900 | $306,169,268 | 1996 |
| 35 | Home Alone | Fox | $466,011,300 | $285,761,243 | 1990 |
| 36 | Pinocchio | Dis. | $463,734,900 | $84,254,167 | 1940^ |
| 37 | Cleopatra (1963) | Fox | $462,222,200 | $57,777,778 | 1963 |
| 38 | Beverly Hills Cop | Par. | $461,992,100 | $234,760,478 | 1984 |
| 39 | Goldfinger | UA | $456,144,000 | $51,081,062 | 1964 |
| 40 | Airport | Uni. | $454,845,600 | $100,489,151 | 1970 |
| 41 | American Graffiti | Uni. | $452,114,300 | $115,000,000 | 1973 |
| 42 | The Robe | Fox | $450,327,300 | $36,000,000 | 1953 |
| 43 | Pirates of the Caribbean: Dead Man's Chest | BV | $444,643,200 | $423,315,812 | 2006 |
| 44 | Around the World in 80 Days | UA | $444,553,800 | $42,000,000 | 1956 |
| 45 | Bambi | RKO | $438,341,600 | $102,247,150 | 1942^ |
| 46 | Blazing Saddles | WB | $435,005,300 | $119,500,000 | 1974 |
| 47 | Batman | WB | $433,127,800 | $251,188,924 | 1989 |
| 48 | The Bells of St. Mary's | RKO | $431,686,300 | $21,333,333 | 1945 |
| 49 | The Lord of the Rings: The Return of the King | NL | $423,382,400 | $377,027,325 | 2003 |
| 50 | The Towering Inferno | Fox | $422,264,600 | $116,000,000 | 1974 |
| 51 | Spider-Man 2 | Sony | $413,892,200 | $373,585,825 | 2004 |
| 52 | My Fair Lady | WB | $412,800,000 | $72,000,000 | 1964 |
| 53 | The Greatest Show on Earth | Par. | $412,800,000 | $36,000,000 | 1952 |
| 54 | National Lampoon's Animal House | Uni. | $412,045,000 | $141,600,000 | 1978^ |
| 55 | The Passion of the Christ | NM | $410,769,300 | $370,782,930 | 2004^ |
| 56 | Star Wars: Episode III - Revenge of the Sith | Fox | $408,153,100 | $380,270,577 | 2005 |
| 57 | Back to the Future | Uni. | $406,268,500 | $210,609,762 | 1985 |
| 58 | The Lord of the Rings: The Two Towers | NL | $396,497,300 | $341,786,758 | 2002^ |
| 59 | The Sixth Sense | BV | $396,144,400 | $293,506,292 | 1999 |
| 60 | Superman | WB | $394,623,900 | $134,218,018 | 1978 |
| 61 | Tootsie | Col. | $391,499,100 | $177,200,000 | 1982 |
| 62 | Smokey and the Bandit | Uni. | $391,010,500 | $126,737,428 | 1977 |
| 63 | Finding Nemo | BV | $387,601,800 | $339,714,978 | 2003 |
| 64 | West Side Story | MGM | $385,075,600 | $43,656,822 | 1961 |
| 65 | Harry Potter and the Sorcerer's Stone | WB | $384,681,300 | $317,575,550 | 2001 |
| 66 | Lady and the Tramp | Dis. | $383,456,000 | $93,602,326 | 1955^ |
| 67 | Close Encounters of the Third Kind | Col. | $382,359,700 | $132,088,635 | 1977^ |
| 68 | Lawrence of Arabia | Col. | $381,038,800 | $44,824,144 | 1962^ |
| 69 | The Rocky Horror Picture Show | Fox | $378,877,600 | $112,892,319 | 1975 |
| 70 | Rocky | UA | $378,675,000 | $117,235,147 | 1976 |
| 71 | The Best Years of Our Lives | RKO | $378,400,000 | $23,650,000 | 1946 |
| 72 | The Poseidon Adventure | Fox | $377,725,500 | $84,563,118 | 1972 |
| 73 | The Lord of the Rings: The Fellowship of the Ring | NL | $376,363,000 | $314,776,170 | 2001^ |
| 74 | Twister | WB | $376,254,300 | $241,721,524 | 1996 |
| 75 | Men in Black | Sony | $375,762,700 | $250,690,539 | 1997 |
| 76 | The Bridge on the River Kwai | Col. | $374,272,000 | $27,200,000 | 1957 |
| 77 | It's a Mad, Mad, Mad, Mad World | MGM | $370,662,900 | $46,332,858 | 1963 |
| 78 | Swiss Family Robinson | Dis. | $370,199,000 | $40,356,000 | 1960 |
| 79 | One Flew Over the Cuckoo's Nest | UA | $369,355,300 | $108,981,275 | 1975 |
| 80 | M.A.S.H. | Fox | $369,347,400 | $81,600,000 | 1970 |
| 81 | Indiana Jones and the Temple of Doom | Par. | $368,305,800 | $179,870,271 | 1984 |
| 82 | Star Wars: Episode II - Attack of the Clones | Fox | $367,863,100 | $310,676,740 | 2002^ |
| 83 | Mrs. Doubtfire | Fox | $362,468,600 | $219,195,243 | 1993 |
| 84 | Aladdin | BV | $360,803,300 | $217,350,219 | 1992 |
| 85 | Ghost | Par. | $354,080,700 | $217,631,306 | 1990 |
| 86 | Duel in the Sun | Selz. | $351,020,400 | $20,408,163 | 1946 |
| 87 | Pirates of the Caribbean: The Curse of the Black Pearl | BV | $348,464,400 | $305,413,918 | 2003 |
| 88 | House of Wax | WB | $347,659,600 | $23,750,000 | 1953 |
| 89 | Rear Window | Par. | $346,440,600 | $36,764,313 | 1954^ |
| 90 | The Lost World: Jurassic Park | Uni. | $343,380,500 | $229,086,679 | 1997 |
| 91 | Indiana Jones and the Last Crusade | Par. | $339,985,500 | $197,171,806 | 1989 |
| 92 | Spider-Man 3 | Sony | $336,530,300 | $336,530,303 | 2007 |
| 93 | Terminator 2: Judgment Day | TriS | $334,755,900 | $204,843,345 | 1991 |
| 94 | Sergeant York | WB | $331,087,600 | $16,361,885 | 1941 |
| 95 | How the Grinch Stole Christmas | Uni. | $330,974,900 | $260,044,825 | 2000 |
| 96 | Toy Story 2 | BV | $329,115,300 | $245,852,179 | 1999^ |
| 97 | Top Gun | Par. | $327,841,700 | $176,786,701 | 1986 |
| 98 | Shrek | DW | $325,359,600 | $267,665,011 | 2001 |
| 99 | Shrek the Third | P/DW | $322,719,900 | $322,719,944 | 2007 |
| 100 | The Matrix Reloaded | WB | $321,268,000 | $281,576,461 | 2003 |
The first television drama aired in 1928, but it wasn't until after World War II that TV really took off. Today, satellite and cable options provide a TV smorgasbord. Although many news programs and soap operas have lasted longer, we've narrowed this list down to longest-running dramas and sitcoms in United States television history. Grab the remote and take a trip down TV's memory lane.
1. Gunsmoke (1955-1975)
Gunsmoke tops the list as the longest-running dramatic series in network television history with 635 episodes. Set in Dodge City, Kansas, during the 1870s, Gunsmoke began as a radio program in 1952, switched to the land of visual entertainment in 1955, and finally ended its 20-year run in 1975.
2. Lassie (1954-1972)
Running for 588 episodes, Lassie centered around a loyal canine companion who rescued her human family from various predicaments. Over the years, Lassie was portrayed by nine different male dogs, all descendants of the original Lassie, whose real name was Pal. During the show's run, Lassie had various owners, most notably Timmy and Jeff. Only three dogs have a star on the Hollywood Walk of Fame -- Lassie, Rin Tin Tin, and Strongheart.
3. Death Valley Days (1952-1970)
In 1952, Death Valley Days, which aired as a radio show from 1930 to 1945, evolved into a successful TV show that lasted 18 seasons. A host introduced each of the 451 episodes, which were based on actual pioneer stories that took place in southeastern California and western Nevada during the late 1800s. Future President Ronald Reagan and country singer Merle Haggard were among the hosts during the show's run.
4. The Adventures of Ozzie and Harriet (1952-1966)
What began as a radio program in 1944 became a movie (Here Come the Nelsons) in 1952 and then a successful television program that ran for 435 episodes. In this wholesome show, the characters played themselves -- Ozzie and Harriet Nelson and their two sons, David and Ricky. Ozzie's roots were in music, so when Ricky's talent started to emerge, Ozzie wrote it into the story line, ending each show with a performance by his younger son. These weekly, televised performances helped skyrocket Ricky onto the pop charts, making him a teen idol as well as a successful recording artist.
5. Bonanza (1959-1973)
Airing for 430 episodes, this Western was set in the mid-1800s on a Nevada ranch called "The Ponderosa." The show revolved around the life of Ben Cartwright and his sons, Adam, Hoss, and Little Joe (played by Michael Landon). Bonanza was the first series to tape all of its shows in color, and it held the number one spot on the Nielsen ratings chart from 1964 to 1967.
6. Law & Order (1990-????)
With 390 episodes (and counting) under its belt since it premiered in 1990, the key to this show's success may lie in its ever-revolving cast. None of the original actors remain on the show, and most cast members only stick around a couple of seasons. Still, the show must go on, and the New York City Police Department and District Attorney's office have their hands (and squad cars and jail cells) full as they clean up the streets of Manhattan on this award-winning drama. Halfway through each episode, the focus shifts from investigation to prosecution of the same case.
7. Dallas (1978-1991)
You'd think life on a Texas oil ranch and mansion named "Southfork" would be sublime, but not so for this feuding bunch. For 357 episodes, Dallas revolved around the wealthy Ewing family -- oil baron and patriarch Jock Ewing; his wife, Miss Ellie; and their sons, JR, Bobby, and black sheep Gary. When JR was shot in the finale of the third season, "Who Shot JR?" mania swept across the country -- and much of the world. But viewers had to wait until four episodes into the new season to find out who pulled the trigger. The episode titled "Who Done It?" was the second-most-watched show in the history of television.
8. Knots Landing (1979-1993)
These were the original desperate housewives. (In fact, Nicollette Sheridan was among the cast!) The show's premise centered on Gary Ewing (from Dallas) and his lovely bumpkin wife, Valene, who moved to California. Their neighbors included a host of dysfunctional families and through marriages, affairs, births, stolen babies, murders, novels, new business enterprises, and even a televangelist brother, this show kept viewers watching for 344 episodes.
9. Star Trek - The world of ...
Television series - 571 episodes
1 The Original Series (1966–1969) 80 episodes
2 The Animated Series (1973–1974) 22 episodes
3 The Next Generation (1987–1994) 178 episodes
4 Deep Space Nine (1993–1999) 176 episodes
5 Voyager (1995–2001) 172 episodes
6 Enterprise (2001–2005) 98 episodes
Film Grosses = $755,595,722
Films Title Release date
Star Trek: The Motion Picture December 7, 1979
Star Trek II: The Wrath of Khan June 4, 1982
Star Trek III: The Search for Spock June 1, 1984
Star Trek IV: The Voyage Home November 26, 1986
Star Trek V: The Final Frontier June 9, 1989
Star Trek VI: The Undiscovered Country December 6, 1991
Star Trek Generations November 18, 1994
Star Trek: First Contact November 22, 1996
Star Trek: Insurrection December 11, 1998
Star Trek Nemesis December 13, 2002
Star Trek Star Trek May 8, 2009
10. Star Wars - 4.3 Billion (not counting TV shows)
| Star Wars Episode 1: The Phantom Menace | $ 431.1 million | $ 494.4 million | $ 925.5 million |
| Star Wars Episode 2: Attack of the Clones | $ 310.7 | $ 337.6 | $ 648.3 |
| Star Wars Episode 3: Revenge of the Sith | $ 380.3 | $ 468.1 | $ 848.4 |
| Star Wars Episode 4: A New Hope | $ 461.0 | $ 339.1 | $ 798.0 |
| Star Wars Episode 5: The Empire Strikes Back | $ 290.2 | $ 243.7 | $ 533.9 |
| Star Wars Episode 6: Return of the Jedi | $ 309.1 | $ 263.7 | $ 572.9 |
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